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000719688 010__ $$z  2013001447
000719688 020__ $$z9780816676446$$qhardcover
000719688 020__ $$z9780816679638$$qpaperback
000719688 020__ $$a9780816684175$$qelectronic book
000719688 035__ $$a(CaPaEBR)ebr10735239
000719688 035__ $$a(OCoLC)853454266
000719688 040__ $$aCaPaEBR$$cCaPaEBR
000719688 05014 $$aT14$$b.C43 2013eb
000719688 08204 $$a303.48/3$$223
000719688 1001_ $$aCecchetto, David.
000719688 24510 $$aHumanesis$$h[electronic resource] :$$bsound and technological posthumanism /$$cDavid Cecchetto.
000719688 260__ $$aMinneapolis, Minn. :$$bUniversity of Minnesota Press,$$c2013.
000719688 300__ $$avii, 210 p. :$$bill.
000719688 440_0 $$aPosthumanities ;$$v26
000719688 504__ $$aIncludes bibliographical references and index.
000719688 506__ $$aAccess limited to authorized users.
000719688 520__ $$a"Humanesis critically examines central strains of posthumanism, searching out biases in the ways that human-technology coupling is explained. Specifically, it interrogates three approaches taken by posthumanist discourse: scientific, humanist, and organismic. David Cecchetto's investigations reveal how each perspective continues to hold on to elements of the humanist tradition that it is ostensibly mobilized against. His study frontally desublimates the previously unseen presumptions that underlie each of the three thought lines and offers incisive appraisals of the work of three prominent thinkers: Ollivier Dyens, Katherine Hayles, and Mark Hansen. To materially ground the problematic of posthumanism, Humanesis interweaves its theoretical chapters with discussions of artworks. These highlight the topos of sound, demonstrating how aurality might produce new insights in a field that has been dominated by visualization. Cecchetto, a media artist, scrutinizes his own collaborative artistic practice in which he elucidates the variegated causal chains that compose human-technological coupling. Humanesis advances the posthumanist conversation in several important ways. It proposes the term "technological posthumanism" to focus on the discourse as it relates to technology without neglecting its other disciplinary histories. It suggests that deconstruction remains relevant to the enterprise, especially with respect to the performative dimension of language. It analyzes artworks not yet considered in the light of posthumanism, with a particular emphasis on the role of aurality. And the form of the text introduces a reflexive component that exemplifies how the dialogue of posthumanism might progress without resorting to the types of unilateral narratives that the book critiques. "--$$cProvided by publisher.
000719688 650_0 $$aTechnology$$xPhilosophy.
000719688 650_0 $$aTechnology$$xSocial aspects.
000719688 650_0 $$aHumanism$$xHistory$$y20th century.
000719688 852__ $$bebk
000719688 85640 $$3ProQuest Ebook Central Academic Complete$$uhttps://univsouthin.idm.oclc.org/login?url=http://site.ebrary.com/lib/usiricelib/Doc?id=10735239$$zOnline Access
000719688 909CO $$ooai:library.usi.edu:719688$$pGLOBAL_SET
000719688 980__ $$aEBOOK
000719688 980__ $$aBIB
000719688 982__ $$aEbook
000719688 983__ $$aOnline